Custom computers expertly built for reliability and to power PreSonus software, recording and live sound systems.We all know painters, drummers, chefs, mixing engineers, MacGyvers and other people like that.Audio Interface: Audiobox 22 VSL, Audiophile 192 Controllers: Arturia Keylab 49 MkII, Novation SL25 MKII, Faderport 8, Roland JV-90, Roland GR-50, Roland Octapad, Akai MPD-18.MIDI Patchbay: MOTU 8x8, Monitoring: Mackie HR824, Yamaha HS-7, Mixer: Yamaha Promix 01, Rane HC-6, Other hardwarePlugins and Libraries, contact me.
My latest release from: Studio One My last prior release from: Studio One Latest Album: Amber Blue My music On YouTube. Can anyone tell me first hand, how it compares to Garritan Personal Orchestra 5 or EW Symphonic Silver I cant decide. EW would be stretching my budget I would have to shell out for a iLok ). ![]() Looking at uvi orchestral suite ad an option as well. From what I have read and watched (I have not used either one) GP5 is the way to go IF you work on each notes articulation, attack, sustain. A youtube video showed you can right click and assign cc to things like adsr, Ive been using zebra 2 a lot. A patch that sounds like a woodwind being able to adjust attack time at certain parts gave me a bit more realism. I also read something about eastwest silver version lacking release variations. The site s confusing if I do in fact need a usb or just the ilok software. He was right, because while I had some great nylon guitar sounds as well, to know the instrument is to know how incomplete all the possibilities are. This is very, very true, and it goes for so many different parts of music production. With experience you develop a taste and a quality conscious approach, whether its synth or compressor emulations, guitar tone or sample libraries. The same goes for people with experience from other genres of music trying to play a genre they have little experience with: a jazz musician or a pop producer might think making trap beats is easy, but an avid listener of such beats would spot the weak 808s and awkward hi-hat patterns or whatever. The same goes even for home-made strawberry jam, good wine or coffee, clothes, jewelry, watches, paintings, carpets, furniture, cars, pretty much anything. The expert will tell the fake from the real and accept no imitations. Most regular music listeners cant tell the difference between a kick drum and a bass guitar, while others are able to to hear what bass guitar model or brand was used. ![]() Without the experience and taste it can be very hard to get things right when playing, composing, producing or mixing music youre not used to. It might even sound like trap, jazz, classical or tech house as good as anybodys to your ears, when in reality it might be more like your drawings as a kid: they could see what youd been trying to do, but even your mother could see that it wasnt a Rembrandt. But that shouldnt keep the kids from having fun while drawing, being encouraged, getting inspired, and learning, and eventually developing a taste. Lokeyfly wrote Yet, with some inventive accents, pitch bends, modulation, and envelope dynamics, we can make something on the verge of drab, be instead wonderful. To put the snap in a percussive part, the spit in a trumpet, the stab in a horn section. ![]() You could probably have given said Rembrandt a couple of crayons and, even though it wouldnt be the same, hed still just might have been able to produce some serious magic.
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